Sandra Cisneros

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Sandra Cisneros Sandra Cisneros is a writer whose exuberant prose and spirited activism have made her one of literature’s best-loved figures. Among the first Latinas ever published by a major house, she has tackled subjects such as race, class, border-crossing and feminism with empathy and a language that is unique in American letters. Her debut novel, “The House on Mango Street,” sold more than six million copies, was translated into more than 20 languages, and has become required reading in high schools and colleges across the United States. Subsequent endeavors and acclaim elevated Cisneros into a cultural icon. She has published in every genre, including the poetry collections “My Wicked, Wicked Ways (1987) and “Loose Woman” (1994); the 1991 short story collection “Woman Hollering Creek”; the 1994 dual- language children’s book “Hairs/Pelitos”; the 2002 novel “Caramelo”; and the 2012 picture book for adults “Have You Seen Marie?” Library Journal deemed her latest book, “A House of My Own,” the best memoir of 2015. Although storytelling is her chief pursuit, Cisneros doesn’t just nurture the artist within. Soon after the MacArthur Foundation awarded her a Genius Grant in 1995, she established the Macondo Foundation, which champions writers around the world who share her commitment to social justice. In addition to holding workshops and readings, the Macondo also offers financial support for artists “in need of time to heal their body, heart or spirit.” She also organized her fellow Latina-Latino “MacArturos” into an ongoing group of doers who meet regularly to inspire communities in need. Cisneros’ honors include an Anisfield-Wolf Book Award, a Lannan Foundation Literary Award, an American Book Award, two National Endowment for the Arts fellowships and a Texas Medal for the Arts. When she won UNC’s prestigious Thomas Wolfe Prize in 2014, more than 600 readers gathered from across the Triangle for her keynote address. For outstanding accomplishment in the field of creative writing, the University of North Carolina at Chapel Hill is pleased to confer on Sandra Cisneros the degree of Doctor of Letters honoris causa. .

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Interviewing Sandra Cisneros: Living on the Frontera*
INTERVIEWING SANDRA CISNEROS: LIVING ON THE FRONTERA* Pilar Godayol Nogue Sandra Cisneros is the most powerful representative of the group of young Chicana writers who emerged in the 19805. Her social and political involvement is considerably different from that of Anaya and Hinojosa, the first generation of Chicano writers writing in English. She has a great ability to capture a multitude of voices in her fiction. Although she was trained as a poet, her greatest talents lie in storytelling when she becomes a writer of fiction. Sandra Cisneros was bom in Chicago in 1954. Her first book of fiction, The House on Mango Street (1984), is about growing up in a Latino neighbourhood in Chicago. Her second book of short stories, Woman Hollering Creek (1991), confinns her stature as a writer of great talent. She has also published two books of poetry, My WICked Wicked Ways (1987) and Loose Woman (1994). My interest in her work sprang from her mixing two languages, sometimes using the syntax of one language with the vocabulary of another, at other times translating literally Spanish phrases or words into English, or even including Spanish words in the English text. This fudging of the roles of writer and translator reflects the world she describes in her novels where basic questions of identity and reality are explored. Pilar Godayol. Your work includes mixed-language use. How do you choose when to write a particular word in English or Spanish? Sandra Cisneros. I'm always aware when I write something in English, if it sounds chistoso. I'm aware when someone is saying something in English, or when I am saying something, of how interesting it sounds if I translate it.
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Unworking Community in Sandra Cisneros' the House on Mango Street
Revista de Estudios Norteamericanos, nº 18 (2014) Seville, Spain. ISSN 1133-309-X, pp 47-59 “GUIDING A COMMUNITY:” UNWORKING COMMUNITY IN SANDRA CISNEROS’ THE HOUSE ON MANGO STREET GERARDO RODRÍGUEZ SALAS Universidad de Granada [email protected] Received 6th March 2014 Accepted 7th April 2014 KEYWORDS Community; Cisneros; Chicano literature; immanence; transcendence PALABRAS CLAVE Comunidad; Cisneros; literatura chicana; inmanencia; transcendencia ABSTRACT The present study revises communitarian boundaries in the fiction of Chicana writer Sandra Cisneros. Using the ideas of key figures in post-phenomenological communitarian theory and connecting them with Anzaldúa and Braidotti’s concepts of borderland and nomadism, this essay explores Cisneros’ contrast between operative communities that crave for the immanence of a shared communion and substantiate themselves in essentialist tropes, and inoperative communities that are characterized by transcendence or exposure to alterity. In The House on Mango Street (1984) the figure of the child is the perfect starting point to ‘unwork’ (in Nancy’s terminology) concepts such as spatial belonging, nationalistic beliefs, linguistic constrictions, and gender roles through a selection of tangible imagery which, from a female child’s pseudo-innocent perspective, aims to generate an inoperative community beyond essentialist tropes, where individualistic and communal drives are ambiguously intertwined. Using Cisneros’ debut novel as a case study, this article studies the female narrator as embodying both
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A Case for Relational Identity in Sandra Cisneros's the House on Mango Street
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2008-11-08 Rethinking the Historical Lens: A Case for Relational Identity in Sandra Cisneros's The House on Mango Street Annalisa Wiggins Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Wiggins, Annalisa, "Rethinking the Historical Lens: A Case for Relational Identity in Sandra Cisneros's The House on Mango Street" (2008). Theses and Dissertations. 1649. https://scholarsarchive.byu.edu/etd/1649 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Rethinking the Historical Lens: A Case for Relational Identity in Sandra Cisneros’s The House on Mango Street by Annalisa Waite Wiggins A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of English Brigham Young University December 2008 BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Annalisa Waite Wiggins This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. ______________________________ ____________________________________ Date Trenton L. Hickman, Chair
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6Th Grade- the House on Mango Street by Sandra Cisneros 7Th Grade-Schooled by Gordon Kormon 8Th Grade- Sarny by Gary Paulsen
This summer, students in Grades 6-12 will be required to read the book listed below. Each novel is assigned based on the grade they are coming into for the 2015-2016 academic school year. During the first week of school, the students will be given a reading comprehension Test on their assigned novel by their English/Language Arts teacher. In addition to the novel test, they will also be responsible for an Oral Presentation which will take place during the first week of school as well. These will be the first two grades for the first nine weeks and will count as a Test (40%) and a Project (30%) grade. Students in AP Language & AP Literature: Follow the Summer Project – AP English instructions outlined on the school website. **NOTE: Novels can be purchased at Barnes and Noble Bookstore / bn.com, Amazon.com, etc…** 6th grade- The House on Mango Street by Sandra Cisneros * Bring in your novel to class on the first day of school for class assignment and essay. 7th grade-Schooled by Gordon Kormon * Bring in your novel to class on the first day of school for class assignment and essay. 8th grade- Sarny by Gary Paulsen * Bring in your novel to class on the first day of school for class assignment and essay. English I- Speak by Laurie H. Anderson * Bring in your novel to class on the first day of school for class assignment and essay. English II- Fahrenheit 451 by Ray Bradbury * Bring in your novel to class on the first day of school for class assignment and essay.
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Chicana/O Latina/O Literature
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Introduction to Mexican American Literature Fall 2020 Professor
Introduction to Mexican American Literature Fall 2020 Professor Charles Tatum THURSDAYS from 10 am-12 pm September 17, 24, October 1, 8, 15 Course Description: Of the over 50 million Latinas and Latinos living in the United States today, approximately 35 million are Americans of Mexican descent. Yet, the trajectory of Mexican American culture in general and literary expression in particular is still relatively unknown. This course will offer a succinct overview of this rich literary tradition that dates to the mid-nineteenth century. In the first session Tatum will trace its development through the 1950s. In the following four sessions he will focus on the resurgence of Mexican American literature that began in the mid-1960s and that has rapidly burgeoned over the past six decades. Included in our readings will be the narrative fiction (novels and short stories), poetry and autobiographical works of authors such as Rudolfo Anaya, Lorna Dee Cervantes, Luis Urrea, Helena María Viramontes, Sandra Cisneros, Gary Soto, Alberto “Tito” Ríos and Juan Felipe Herrera (a recent U.S. poet laureate). In the last session Tatum will introduce a younger generation of Mexican American writers including Manuel Muñoz, Kristin Valdez Quade, Casandra López and Ada Limón. Dr. Charles Tatum is Professor Emeritus of Spanish at The University of Arizona. He is the author of a monographic study Chicano Literature (1982), published in translation in Mexico in 1986. Among his other book-length publications are: Chicano Popular Culture, 2001, (2nd edition, 2017); Chicano and Chicana Literature: Otra voz del pueblo (2006); and Lowriders in Chicano Culture. He has edited or co-edited several anthologies of Mexican American literature.
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Front Matter
Cambridge University Press 978-0-521-76695-1 - The Cambridge Companion to American Poetry since 1945 Edited by Jennifer Ashton Frontmatter More information The Cambridge Companion to American Poetry since 1945 The extent to which American poetry reinvented itself after World War II is a testament to the changing social, political, and economic landscape of twentieth- century American life. Registering an important shift in the way scholars contextualize modern and contemporary American literature, this Companion explores how American poetry has documented and, at times, helped propel the literary and cultural revolutions of the past sixty-five years. Offering authoritative and accessible essays from fourteen distinguished scholars, the Companion sheds new light on the Beat, Black Arts, and other movements while examining institutions that govern poetic practice in the United States today. The text also introduces seminal figures like Sylvia Plath, John Ashbery, and Gwendolyn Brooks while situating them alongside phenomena such as the “academic poet” and popular forms such as spoken word and rap, revealing the breadth of their shared history. Students, scholars, and readers will find this Companion an indispensable guide to postwar and late-twentieth-century American poetry. Jennifer Ashton is Associate Professor of English at the University of Illinois at Chicago, where she teaches literary theory and the history of poetry. She is author of From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century and has published articles in Modernism/Modernity, Modern Philology, American Literary History, and Western Humanities Review. A complete list of books in the series is at the back of this book.
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AP English IV Summer Reading Tips
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Reversing the Middle-Class Gaze in Young Adult Literature
REVERSING THE MIDDLE-CLASS GAZE IN YOUNG ADULT LITERATURE: AN ANALYSIS OF WORKING CLASS ADOLESCENT PROTAGONISTS IN A TREE GROWS IN BROOKLYN, THE HOUSE ON MANGO STREET, AND THE ABSOLUTELY TRUE DIARY OF A PART-TIME INDIAN by Allison Jamiese Estrada-Carpenter, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Literature May 2015 Committee Members: Nancy E. Wilson, Chair Marilynn L. Olson Susan S. Morrison COPYRIGHT by Allison Jamiese Estrada-Carpenter 2015 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Allison Jamiese Estrada-Carpenter, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. This thesis is dedicated to Corina Redding Carpenter, my mother. “We’ll keep pushin’ till it’s understood, and these badlands start treating us good.” - Bruce Springsteen ACKNOWLEDGEMENTS First, I must thank the members of my thesis committee. Dr. Nancy Wilson, my thesis director, whose humor, heart, and experience kept me going when the writing was tough. She spent so much time with me, week after week, revision after revision. Thank you for your guidance and your chocolate! I would also like to thank my committee member, Dr.
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55-Chicana Experience on Borderlands in Sandra Cisneros' the House on Mango Street and Gloria Anzaldua's Borderlands/La Frontera: the New Mestiza
R u m e l i D E Dil ve Edebiyat Araştırmaları Dergisi 2 0 2 0 . Ö 8 ( K a s ı m )/ 7 0 5 Sandra Cisneros’un Mango Sokağı’ndaki Ev ve Gloria Anzaldua’nın Sınır Bölgeleri/ Hudut: Yeni Melez Kadın romanlarında Meksikalı Kadınların Sınır Deneyimi / A. Bayal (705-719. s.) 55-Chicana experience on Borderlands in Sandra Cisneros' The House on Mango Street and Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza Aslınur BAYAL1 APA: Bayal, A. (2020). Chicana experience on Borderlands in Sandra Cisneros' The House on Mango Street and Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (Ö8), 705-719. DOI: 10.29000/rumelide.822504. Abstract This paper aims to suggest how Chicanas in The House on Mango Street and in Borderland/La Frontera: New Mestiza construct their own identity on the physical and psychological borderland between Mexico and The States segregating and separating individuals because of language, culture, gender, sexuality, ethnicity and class. How they achieve their self-fulfillment at the end of their odyssey is also presented in this paper. The House on Mango Street and Borderlands/La Frontera New Mestiza are the epitomes of border writing dwelling on the tumult and challenges of physical and psychological borderland between the States and Mexico and explaining the social and economic conditions of the subjects. Borderland dwellers experience illegal migration, economic disparity, social and financial unrest, sense of displacement and frustration. They have hybrid identities and use hybrid language of English and Spanish. This paper discusses male oppression and domestication, American ideological dominance over Mexico and a quest for a dignified life in both novels.
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UC Merced UC Merced Undergraduate Research Journal
UC Merced UC Merced Undergraduate Research Journal Title Chican@ Poetry: From the Chican@ Movement to Today Permalink https://escholarship.org/uc/item/743000gk Journal UC Merced Undergraduate Research Journal, 7(2) Author Rocha, Maricela Publication Date 2014 DOI 10.5070/M472027438 Undergraduate eScholarship.org Powered by the California Digital Library University of California 122 Chican@ Poetry: From the Chican@ Movement to Today By: Maricela Rocha Abstract the Chicano movement, their Mexican American struggle, and the injustices they uring the Chican@ Movement in faced. Chican@s in the United States the 1960s, poetry written by and can go years without receiving a sense of Dfor Mexican Americans became known Chican@ poetry or history in school or life as Chican@ poetry. This kind of poetry because of its controversy. Once they are played a huge influence in the Chican@ exposed to Chicano poetry, it changes their movement when the poem, “I am Joaquín”, perspective on their Mexican American by Rodolfo “Corky” Gonzales gave a identity. This essay will do what schools do different meaning to the term “Chican@”. not, and that is explain how Chican@/a After this poem, Mexican Americans poetry has evolved from the poem “I gained a new identity and their own form am Joaquin” that made the Chican@ of poetry. Chican@ poetry is important movement popular, to the introduction of because it empowered and influenced newer Chican@/a poets borrowing from Chican@s to take action when they were earlier Chican@ poets. Also, I will explain oppressed. Today, Chican@s and Mexicans how poetry has been a big factor in the face some of the similar problems they did fight for Chican@s’/Mexicans’ rights.
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NATIONAL ENDOWMENT for the ARTS Reader Resources
NATIONAL ENDOWMENT FOR THE ARTS Reader Resources How We Became Human by Joy Harjo Writer and musician Joy Harjo was born in Tulsa, Oklahoma and is a member of the Muscogee (Creek) Nation. Her many awards include a Lifetime Achievement Award from the Native Writers’ Circle of the Americas; the William Carlos Williams Award from the Poetry Society of America; the Wallace Stevens Award from the Academy of American Poets; the American Indian Distinguished Achievement in the Arts Award; and two National Endowment for the Arts creative writing fellowships. How We Became Human (W.W. Norton, 2002) offers an introduction to her poetry over the first 26 years of her career, including poems from her groundbreaking book She Had Some Horses (Thunder's Mouth Press, 1983). "To read the poetry of Joy Harjo is to hear the voice of the earth, to see the landscape of time and timelessness, and, most important, to get a glimpse of people who struggle to understand, to know themselves, and to survive" (Poetry Foundation). Says author Sandra Cisneros, "Her hero's journey is a gift for all those struggling to make their way." "Joy Harjo is a giant-hearted, gorgeous, and glorious gift to the world," says author Pam Houston. "Her belief in art, in spirit, is so powerful, it can't help but spill over to us—lucky readers." What is the NEA Big Read? A program of the National Endowment for the Arts, NEA Big Read broadens our understanding of our world, our communities, and ourselves through the joy of sharing a good book.
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